Caroline Ha Thuc is a French art writer, writing for Art Press magazine in France and Pipeline Magazine in Hong Kong. She is also working with French publisher Nouvelles Editions Scala, a very well represented French publisher dedicated to art and also very well distributed in all major cultural art places in France. After a book about New Contemporary Japanese Art (post Murakami) ，she just finished for him a book on HK artists which was published in English for the ArtFair 2013. She is currently working on Chinese art and will write a book about new tendencies in art practices in China's fast-growing society.

 

Caroline Ha Thuc:You are using a very specific practice, mixing painting and sculpture. What lead you to it?

 

你使用的是非常独特的实践方法-混合油画和雕塑，是什么令你有这个方面的想法的？

 

南超:艺术家的工作主要有两点：一是对语言的创新，二是形成自己的艺术主张以至主义，也就是自己的艺术观念。创作这一系列立体作品最主要还是对新语言的探索。另外，中国画的传承与创新一直是一个无休止的话题，我希望可以从传统固定的表现形式中摆脱出来，真正做到既有传承又实现创新。

 

For artists, there are two perspectives in artistic creation: innovation in language and developing their own artistic ideas and principle.  These are the basisof an artist's artistic concepts. My motive of creating this new series is mainly to explore the new language of art. Besides, succession and innovation is always an endless topic. I hope I can evolve from the traditional form of performance to achieve succession and innovation.

 

Caroline Ha Thuc:We could see your work as Chinese Painting in 3D… how do you choose your landscape? Which Chinese old school are you referring to in your drawings?

 

我们看到你的作品是立体的水墨，你是怎样选取所描绘的山水题材的？你的画作应归类于哪一个国画的学派？

 

南超:题材主要选自中国古代的有代表性的名画或者画中的代表性形象。至于学派我认为我已不属于任何学派，我创作的目的是为了最终形成自己的主义，不追随任何流派。国画是一种艺术语言，与油画一样，而我所做的立体作品是新的艺术语言的创造，是可以与国画、油画、雕塑并置的新的艺术语言。在未来我希望可以创造属于我自己的一种主义，暂时可以称之为"东方立体主义"。

 

The themes are mainly chosen from the representative ancient Chinese painting and or the images from these painting. Regarding to the Chinese old school, I think I do not belong to any specific one. My purpose of creation is to eventually develop my own idea without following any school. Similar to oil painting, Chinese ink and wash painting is a type of artistic language.  My 3- dimensional artwork is a creation of a new artistic language that parallels Chinese painting, oil painting and sculpture. In the future, I hope I could have my own ism.

 

Caroline Ha Thuc:Could you explain to me your technique: Do you draw first? Do you still use brush and ink?

 

可否讲解下你使用的技术？比如你是否会先绘图？有没有用毛笔和墨？

 

南超:绘画中主要是实现了油画到水墨画的转换，以油代水，以布代纸。立体作品技术非常复杂，包括做雕塑、翻制、绘画，以至化学手段等等。期间经历了近

 

5年的探索，和多次失败才初具模样。我做作品重来不做草图，只是在头脑中构思，这种构思会经过一段时间甚至很长时间才会付诸实践。期间也会用到毛笔和墨。

 

In the painting, I substitute water with oil and paper with canvas.  However, the 3-dimenstional creation is very complicated. The process includes modelling, carving, drawing and even chemical handling. I have spent 5 years in experiment and failed for many times.  I never draw before creation. I would only imagine it in my mind. Sometimes the time I spent on imagining is more than making. I would sometimes use brush and ink during the process of making.

 

Caroline Ha Thuc:Do you think this version of ink and wash is more accurate todays and reflects better the society?

 

你认为这个版本的水墨画是现今更准确的吗？能够更好地反映社会吗？

 

南超:准确是相对的，最重要的是能更好地在传承与创新之间找到一个结合点。内容上我要表现文化在当下社会所处的境遇，希望引起社会对文化的关注。

 

Accuracy is relative. The most important thing is to find out the joint between succession and innovation. On the content, I want to show the current situation

 

of culture in the contemporary society in order to arouse the concern of culture in our society.

 

Caroline Ha Thuc:I have read that you want to invent new language: is the quest of new forms that lead your work?

 

(我知道你希望在语言上达到创新。是否这探索新形式的欲望令你创作这些作品的？)

 

南超:没错

 

Yes, it is.

 

Caroline Ha Thuc:Are emotion and aesthetic essential in your work?

 

情感和美学是否在你的作品中不可或缺的？

 

南超:当然，审美是做作品必不可少的要素，是决定作品品质的重要因素。情感是创作的动力与激情的一部分，艺术也离不开感性。

 

Of course, aesthetic is essential in art creation. It is an important  factor determining the quality of the artwork. On the other hand, Emotion is a part of

 

motivation and passion of creation.   Art is inseparable from the perceptual.

 

Caroline Ha Thuc:Do you think it is important to maintain some tradition in China?

 

你认为在中国维持传统是重要的吗？

 

南超:更准确地说是继承传统，继承传统也是中国传统的一部分。另外，人的生命是有限的，个人的智慧也是有限的。在有限的生命中将智慧提升到极致，继承先人现有的经验就显得尤为重要和必不可少。同时也可以使一种文明生生不息。

 

(To be more accurate, succession of tradition is also part of the Chinese tradition. Moreover, human life is limited, so is wisdom. In order to enhance our wisdom in

 

our limited lives, succession of the experiences of our ancestor is obviously essential and important. At the meanwhile, it can put the civilization in endless exchanges. )

 

Caroline Ha Thuc:How do you work: what is your basic daily life? Do you link life and art or are they two separated things?

 

你是怎样创作的？ 你的日常生活是怎样的？ 你的生活和艺术是连结起来的？还是两者是独立的？

 

南超:我的生活基本上是围绕艺术展开的，生活本身也是一种艺术，是在消磨时光的过程中增长智慧。艺术也存在于我们的生活中，只要你用艺术的眼光去发现生活，艺术便无处不在。我希望自己可以在创作的生活中慢慢地增长智慧。

 

My life is surrounded by art. In fact, life itself is an art. Our wisdom grows during the process of spending time. Art exists in our daily life. You only have to use your artistic insight to discover life then you would find that art is indeed everywhere. I hope my wisdom would grow in my creative life.

 

Caroline Ha Thuc:Why did you choose Beijing to settle your studio?

 

你为什么选北京去安置你的工作室？

 

南超:我大学是在北京读的，1996年便到了北京，它是我的第二故乡。同时北京是中国的首都，政治文化中心，他有着中国其他城市无法比拟的文化氛围，而且北京有世界上最大的艺术家聚居地-宋庄。

 

I attended university in Beijing.  I came to Beijing In 1996 and I consider it as my second home town. Beijing is the capital of China, the centre of politics and culture. The cultural atmosphere is much better than other cities. The largest artist's colony - Songzhong is also located in Beijing.

 

Caroline Ha Thuc:Why did you decide to become an artist? What is your parents and relatives' reaction? Do you have any support?

 

你为什么会选择做艺术？你的父母和家人是怎么反应的？ 你有没有得到支持？

 

南超:我从三岁开始学习绘画、书法。成为画家是我儿时的梦想，因此一直没有间断这方面的学习和努力。长大后对仅做一名画家已经不能满足了，希望自己能够成为一名真正的艺术家。父母家人虽然有时对我的观念不能理解但一直都是非常支持我的。

 

I started learning drawing and calligraphy when I was three. Becoming a painter has been my dream since childhood so I have always been studying very hard to achieve this goal. When I grew up, becoming a painter can no longer satisfy me. I was eager to become a real artist. Although my parents cannot understand my concept sometimes they have always been extremely supportive.

 

Caroline Ha Thuc:Do you need to work aside for a living?

 

你另外有没有其他的工作来支持生活？

 

南超:我也在大学里教书。

 

I also work as a lecturer in university.

 

Caroline Ha Thuc:What do you think of the level of art education in China? Would you like to study abroad? Are you interested with Western art?

 

关于中国的艺术教育程度，你有什么想法？ 有没有到国外学习的经历？ 你对西方的艺术有兴趣吗？

 

南超:中国的艺术教育相对滞后，按现有的教学大纲在学院里只能教学生画画，教不了艺术。艺术教育应该更尊重个人的特质，因材施教，自由发挥，正确引导。不能按统一的模式批量生产学生。我没有到西方学习过，但去过西方许多国家和美术馆。蓬皮杜是我很感兴趣的地方。

 

Art education in China is relatively lagging behind. According to the teaching guideline at school, we are only allowed to teach painting but not art. Art education should respect personal uniqueness and teach student in accordance with their aptitude.  We should let them express freely instead of producing students with the same model in mass scale. Our job is just to guide them correctly. I have never studied aboard but I have visited various museums in foreign countries. I am particularly interested in Pompidou.

 

Caroline Ha Thuc:How do people consider contemporary artists in China?

 

你觉得别人是怎样看中国当代艺术家的？

 

南超:符号化、批量生产、互相模仿，等等。

 

Symbolized, mass production and imitation…

 

Caroline Ha Thuc:What with the public? Do you feel close to the audience?

 

与公众呢？ 你觉得与观众接近吗？

 

南超:其实当代艺术更接近生活，更容易接近观众。但很多人不接受是因为对那些高高在上已成定律的东西习惯了。不可否认当代艺术有些作品在尝试打破固有定律的时候是失败的。但创造是艺术职责，提高人的审美也是艺术家的职责。

 

Contemporary art is in fact closer to daily life and more reachable for the        audience. However, most people still have a hard time accepting it as they are only familiar with high-class things. We cannot deny that some contemporary artists might have been failed when they were trying to break through the existing principle. However, the responsibility of art is to create, while raising people's aesthetic sense is artists' responsibility.

 

Caroline Ha Thuc:Art Market keeps growing in China for financial reasons. To what extend money is distorting creation? Can't art live together with business without being corrupted?

 

因经济的因素，艺术市场在中国不断发展。你认为金钱在什么程度上扭曲了创作？ 艺术可以在不受污染的情况下与商业发展吗？

 

南超:过去几年火爆的艺术市场已经扭曲了创作。当今，当积累财富已经作为大多数人的生活目标时，艺术家们也很难不受感染。艺术可以在不受污染的情况下与商业发展一是需要艺术家有平和的心态，二是需要整个社会对艺术的认识达到一定的水平，三是良性运作，杜绝不良操作与恶性炒作。

 

In the past few years, the rapid growing market has distorted artists' creation. Nowadays when accumulating wealth has become people's purpose of living, artists could hardly prevent themselves from corrupting into such routine. If we want to develop art and business without any contamination, artists have to first be mentally well-adjusted before going into business. Secondly, the society's knowledge of art should reach to a certain level. Thirdly, the market should be under benign operation. Eliminating adverse operating with vicious speculation is vital.

 

Caroline Ha Thuc:From your point of view, what is the role of an artist in today's society?

 

你认为艺术家在现今社会的角色是什么？

 

南超:大多数人是在适应社会，而艺术家是社会要适应艺术家。大多数人是在活命，艺术家是玩命。艺术作品不是真理，但是打开真理之门的钥匙。真正的艺术家首先应该是思想家，是社会问题的提出者，是未来世界观形成的引导者，是人类审美与智慧的推动者。

 

Most people adapt to the society, while artists need the society to adapt to them. Most people are living their lives, but artists are risking their lives. Artworks are not the ultimate truth but they are the key to it. A real artist should first be a thinker who is willing to expose social problems and a leader to the worldview of future. Last but not least, he should be a devoted promoter of human aesthetics and wisdom.

 

Caroline Ha Thuc:As an artist from the new generation, how do you see the future of contemporary art in China?

 

作为新一代艺术家，你认为当代艺术在中国的未来发展会怎样？

 

南超:中国当代艺术在未来必定会立足于中国自身的传统文化来进行创造。以东方人本身固有的审美和智慧来制造真正的中国当代艺术。

 

In the future, Chinese contemporary art would be created based on China's own traditional culture. Artists can create real Chinese contemporary art with oriental aesthetics and wisdom.

 

Caroline Ha Thuc:Would you leave China and settle abroad?

 

你是否会离开中国到外国定居？

 

南超:一切皆有可能。

 

It is possible.

 

Caroline Ha Thuc:Thank you very much!

 

非常感谢！

 

南超:Thank you.

 

谢谢。

 

2012.10.5.